FIG@PEDIA Frac Ti) a Imaee)ke}e);§ ay Wee ie .FIG@PEDIA Masterclass techniques for fantastic figures VOLUME 1: Colour and light, theory and practice Even if I'm the most visible part of the FIGOPEDIA iceberg, I’m not the only one responsible for what you're holding in your hands (or between your feet if you paint at the same time as you read). So I would like to pay tribute and to thank from the bottom of my heart the fine, persevering, devoted and inspired team which worked day and night to create this book! Clap, clap, clap ... and off to volume II! Conceived, designed and published by FIGONE under the supervision of Jérémie Bonamant Teboul jbonamant@yahoo.fr .jeremiebt.com www-figone.fr ww Text : Simon Jones & Jérémie Bonamant Teboul Layout: Aline Clabaut Cover: Anastasios Kandris Translation: Eric Harlaux < eric.harlaux@gmail.com > & Thibaut Sesia < tibol 6ia@hotmail.com> Proofreading (French): Anne-Laure Bessenay, Anais Liandier, Stéphane Madani, Fred Richard, Yannick Degiovanni, Yann Duchtil, Guillaume Bry, & Fabrice Jacob Proofreading (English): Chris Borer, John Harrisson & John Keys Graphics : Olivier Raoul , Aryan Eire, Anais Sorrentino, Anastasios Kandris, Hubert Moliere, Stefano Moroni &Karim Nancy Communications Video: Yann Dentil Communications, crowd funding campaign and lots of other stuff: Amélie Lamirand, David Clabaut & Philippe Christin Shipping : Thierry MoulinetIntroduction ... Light intensity ...utannsiihannntnnsineeronnit Light direction... General lighting Zenithal lighting, i Lateral lighting, Secondary and multiple lighting sources ft How does a secondary source affect brightness? * Exploring the power of zenithal light fie 18- a3) The theory of zenithal lighting Geometric primitives under zenithal lighting A Simple shape with flat surfaces A simple shape with curved surfaces The degree of curvature and the colour gradient i Painting angles, edges and flat surfaces A simplified vision of light and shadow . Analysing a few common examples Zenithal lighting on cloth and small surfaces Sharp transitions on horizontal folds Sharp transitions on diagonal folds Progressive transition of vertical folds Bringing out the forms of small volumes . Lighting effects: composition and narrative «uncer 43-62 The role of bright tones and shadows Mastering composition with light Creating drama by exaggerating contrast Focal points: how to get the attention you deserve The silhouette: form in space How to choose the zones which deserve particular attention? Highlights, the indispensable touch Alternating light and dark areas How to control the mid tones? Knowing how to take a step back Lighting the base to emphasis the figure Innovating with light sources .. Mixing zenithal and general lighting How to paint projected shadows? Inventing the light sourceIntroduction . abt THEALCHEMY OF COLOUR: 7) Understanding & Applying Colours How to observe and develop your sense of colour? Introduction Interpreting colours Anexercise in observation Exploring the chemistry of colours What is a colour? Hue, lightness and saturation An exercise in colour What is a colour wheel? What are primary, secondary and tertiary colours? A bit about browns What other types of colour wheels are there? What are complementary colours? How to use warm and cold contrasts to add depth Blues, yellows, reds and greens Using warm and cool colours to shade and highlight without desaturation Playing with colour contrasts What do we mean by contrast? How do different colours affect each other? ‘The Secrets of tones and harmonies The psychological impacts of colours The importance of a key colour What makes a harmonious colour scheme? Colour harmony the easy way Why choose a reduced colour palette? ‘Complementary colour schemes Painting with neutral colours Colour coordination ‘Golouring light and shadow to harmonise colours How to enrich colours and use intermediate shades? he influence of the seasons, daylight, and the colours of twilight Working at the extremes: mastering black and white ... ‘The dramatic power of black and white Many shades of grey Working with black Shades of white ‘Welcome to the wonderful world of camaieu and monochrome ; J Before the curtain falls How to create an emotional monochrome scheme? ver leave the viewer unmoved 93 - 110 110-114 17proword by, Aan ¢ “Jeremie belongs fo these people who ~ Always part of the “good times”, their origin. He loves life itself with an insatiable energy thatseems never-ending, It is always impressive, and abit scary at time too, when he thinks of something next and. then makes you part of it (laugh)! y Accepting who he is enables him to own his desires; his work reflects that», “M869 ever changing, a bit all over the place, never monotone! He gives priority to creativity over maniacal technique, and he is right!” J wrote these words not that long ago during a crossed interview. We know each “other for more than twelve years. We shared a lot: trips, events; we lived toget shared a workshop and created (with others) a miniatures game company. just say we know each other well. I think that for anyone interested in miniatures, Jérémie Bonamant Teboul is a hallmark. Over the years, Jérémie has assimilated techniques, methods and styles from all) places that form this little world, both through his presence in most gatherings and his creative experimentations. He would be a sort alchemical poach in which you threw all sorts of ideas and knowledge from all over the world. He is the peculiar material that would come out of that mix, enriched fusion (blended with his own experience) equally useful to novices and professionals. I followed closely or from a distance most of his projects along the years. We owe him several tutorials, such. as videos, books or articles, and classes. He is also the origin of many projects, current and past, about this passion, websites, various events, miniatures games, community projects in which many people were involved If I mentioned all of this, it is not (only) to praise the author, but to convey the: fac that the experience he has to share has been forged during the last 20 years of th miniatures world and he experimented it all himself! The book that you are about to discover is but the first of a long series about miniatures painting. Whatever your style or personal taste, it is clear to me you will get something out it to improve no matter how you practice. You will make the content even richer if you read it with an open mind and your imagination flow *Word yrom Jeremie Til never forget’ an experience from when I was a teenager, drawing a still life inart class. I was struggling with a piece of fruit which stubbornly refused to come to life on the page. The teacher came over, glanced 4 at my drawing, and told me; “There are two things ¥¥) you need to do in order to represent a shape in three dimensions. First, make the object really sink into the page. Second, highlight it.” He took some dark blue and re-drew the shadow under nly fruit then added a simple yellow-white bright spot on the highest, most convex part of my apple It made alll the difference. As if by magic, the drawing took on relief, scale, and vivacity. I'd never seen a blue apple before but I almost wanted to bite into this one! Years later, I’ve retained two points from this lesson: First: I didn’t have a taste for representing reality exactly as it appeared, but rather as what it inspired in me, without being afraid to change it. Secand#,You can saye yourself a lot of time by listening to sensible, experienced advice, WHA BOOK ABOUT LIGHT AND COLOUR? This “theoretical” volume is intended to be part of a series. [ have chosen to approach our shared passion in a subjective more than technical manner in order to allow myself more freedom of expression. I've made the deliberate choice to use technique to benefit expression rather than the other way around. Above all, I want to encourage you to think about what you'd like to achieve rather than limiting yourself to what you already know you can do with the techniques already in your toolbox. Controlling the sparkling interplay between light and colour (or their absences) iS one of the most fascinating aspects of miniature painting. Mixing colours and ‘using lightare arts that every painter should try to develop and improve. Personally T don't think that these are innate talents that you simply have or don’t have. | ‘believe that experience combined with theoretical study will help any determined jpainter progress towards mastery, and that is the philosophy I want to develop in thisbook. Gnithis first Volume, I've tried to share the knowledge and advice which | would Whrave liked to Rave had available when I started painting ~ things I would tell my Myounger Self PL could go back in time. I hope that beginners as well as grizzled © Veterans will find a few useful tricks, techniques, and tools herein that will help themamprove their at Jérémie BTr- Be More of my work can be found.on www jeremiebt.com and www-figone.fr A WORLD OP MINIATURES. ’ So that you, dear réader, tan appreciate the actual size of the figures uSéd in thisbeok Rem@iisa smalls explanation of the scales used onthe models in this book. Along with if nde and manufacturer (where commercially available), every miniature credited in the book includes information about its “Scale”. For example, “32mm” indicates that in this scale an average human subject measuritig 1,80m will measure 32mm from feet to eyes in miniature. But the scale is notabsohute! Phe miniature of a large monster in 32mm scale will be much larger than the miniature tf achild in 32mm seal: The majority of the miniatures of this book are drawn from magnifi¢ene imaginary: worlds of Science-fiction and fantasy. I love to walk in these worlds as they are so visttally Gifierent from our ‘Own. Where else can we cross paths with dragons and elves or watch knightsipaeling wizards. Tove the escapist possibilities they offer. Perhaps this comes from a-désire: fosexperience worlds Which - contrary to our own - do not cynically collapse into relativism or ‘fhihilisna? Perhaps it "comes from a desire to develop my imagination and investigate new possibilities of compositior interpretation, light, colour... the very subject of the book you hold in your hands! Far from leading us in circles or being ridiculous; these universes can reflect oui Wh existence Although imaginary, they often echo our own personalities. Some of my creations are very personal subjects. For example, “The Flute Player” is inspired by the myth of the pied pipemeHamelingat German legend about a musician who charms the rats of a town and drowns them. My harlequift revisits the story and his music entices the little machines of war to follow him to their destruction - a wealth of symbolism and a personal variation on an old, recognizable tale Other miniatures are pieces commissioned by collectors (as ifidieated) and still others were create ay under my artistic direction and produced under the brand FIGONE. In all cases, am their painter and sometimes their sculptor tooLIGHT AND SHADOW: theory and pri INTRODUCTION Light is an intangible but vital element for the artist to understand. A painter skilled at representing light can add a timeless quality to their painting. This is one of the reasons why the work of world-renowned artist William Tamer has remained so popular. His ability to interpret the atmospheric effects of the light continues to astonish all those who discover his paintings. Another example is the way black and white comic illustrators compose their drawings with halftones and zones of light and shadow. Similarly, film- noir directors of the nineteen thirties’ Hollywood thrillers used light to add atmosphere to their movies ‘The illusion of realism in a two-dimensional silhouette is obtained by adding perspective through the terplay of light and shadow. A miniature is a kind of silhouette which we try to bring to life and light provides the required energy. Since the model is already three dimensional, you might assume that once all the surfaces are painted with the right colours then the ambient lighting will make the model look realistic. However, because of their small size, natural lighting does not provide sufficient definition for a scale model to look realistic. Therefore, much of the painter’s work involves interpreting the model's shape and volume with the correct positioning and representation of light and shadow painted on the figure and then defining those areas with your brushwork. This processs will reinforce the three dimensionality of your miniature. The miniature painter must explicitly define areas of light and shadow with painting to produce a realisticlooking figure. In this section, we will show you the ways in which light affects the figure, how to reproduce this with your painting, and how to use this to add drama and narrative to a miniature, Knowing what kind of light, where it comes from and how it falls on the various parts of your figure are important skills to master.AND SHADOW: theory and practice LIGHT INTENSITY Depending on the environment, light can be natur BIE artificial, raw, stark, attenuated, sculptural, vague, cl flat, diffuse, coloured, or nuanced in many oth The Impressionist painters were exceptional observe Several aspects of the lightonaminiatureneed| of the mutable effects of light on a scene produced ito be considered when approaching a figure: J the time of day and changing climatic conditions. For example, a series of Claude Monet's paintings depi ‘The effects of light and shadow are not just] “\aterlo bout shape and volume, they can also add idrama to a scene, create atmosphere, and] ach study presents the same subject under a differen ‘expand the figure’s story. iioute Bridge” under different types of light pect, sometimes even obscuring the bridge in ter will help you master different light intensity and tones of varyir mportant part of the miniature painting) brightness. Itw fprocess as it helps identify what parts tol thoughtfully a ighlight and where to draw the viewer's) ition. The correct use of contrast between light and dark on both the whole model and on specific parts is an important tool to produce realistic looking models. of coloured fog. This ch fe The choice of the lighting source is ani i Ilhelp you choose how to apply them as LIGHT DIRECTION Before painting, you should imagine where the light illuminating your model is coming from so you can add the shadows and highlights accordingly. I categorize lighting styles - different patterns of light and shadow — commonly used by miniature painters - into one of three styles which can represent almost any lighting conditions which can be painted. They are: general lighting, zenithal or lateral lighting, and multiple source lighting. «THE COMPARAISON BETWEEN THREE DIFFERENT LIGHTING SOURCES»LIGHT AND SHADOW: theory and pra General lighting Novice painters tend to start by using general lighting for their miniatures. This is a popular technique for table-top and gaming miniatures and it is explained in detail in painting guides available from popular wargames companies. General lighting simulates a constant, diffuse illumination which falls equally on all parts of the model. At its simplest, this technique consists of darkening the recesses and brightening the raised parts of the model without taking into account a specific direction of the light source. General lighting gives the finished model a neutral style. While it allows the viewer to concentrate on the representative details of the model (a uniform, a weapon, a pose) it does little to evoke an emotional response beyond an appreciation of the painter's technical skill While general lighting is the most accessible lighting choice, it can limit the painter's range of artistic expression. The painter needs to compensate for this lack by maximising other aspects such as the colour scheme and contrasts. Zenithal lighting ZENITHAL LIGHT ‘Queen of Death - Figone - 32mm GENERAL LIGHT Grallapousah dé Barback - GW - 54mm. Zenithal lighting is currently a very popular lighting style which highlights the shapes and forms and produces a figure full of character when done correctly. The zenith is an imaginary point directly above a particular location or object. The light is imagined to be coming from a single source, such as the noonday sun or a powerful artificial light directly above the miniature. The miniature is then painted accordingly; remembering all the time that light travels in straight lines. The model should be painted lighter where more light falls and darker on the opposite side where the light doesn’t reach. To understand the phenomenon of zenithal light, it might help to make a comparison with the rain (which also comes from above). The areas of the miniature which receive the most rain, the weitest ones, correspond to the areas that receive the most light; i. the top of the head, the shoulders, the bridge of the nose, or the thighs when perpendicular to the rainfall such as when cycling. (Believe me, I know what am talking about!) A more painful example to help understand this principle is sunburn,ZENITHAL LIGHT AND GENERAL L Zénithal light General light & & “AiR Saanee THE COMPARISON | BETWEEN now AND SHADOW: th I k at an unfortunate beach- goer aft much sun, you will notice it purned parts are those situated exposed areas, where th (choulders, forehead whereas protected armpits and throat, those shadows, are untouched. The play of light and shadow from zenithal light is currently a very popular choice for miniature painters, including myself, and i will be the type of lighting I'l use most frequently in this book. Once you are comfortable with zenithal lighting you can start tc experiment and personalise your lighting sources. Lateral lighting As you become more experienced, you'll begin to notice that zenithal light from above is not always the best or only choice for a particular model. The orientation of a given miniature, the way it's posed to the left or the right, may encourage lighting from the side, or lateral lighting. We want to show the figurine in its best light from an aesthetic point of view, and guide the viewer toward the miniature at tl s preferred angle. This way of lighting is often very dynamic, even more so if the character is positioned diagonally on its base The shadows fall laterally, casusing one side to be strongly illuminated and the other to be shady twilight. LATERAL ZENITHALLIGHT AND SHADOW: theory and practice _ The position of the lighting is often guicled by the orientation of the face. The demeanour of such a figure can seem determined or quizzical or to be somehow attracted to the light source. This was considered an unusual lighting, choice a few years ago but it is becoming more popular thanks to its originality and to its dramatic effect. Secondary and multiple lighting sources Incorporating a secondary light source, also known as object source lighting (OSL), is simulating illumination produced by an element close to or actually part of the miniature itself such as a torch or streetlight or something held by the character such as a lamp or a magic item. The light emitted by such items is strong enough to dominate the main lighting style of the jure in certain areas (local lighting), be it general, zenithal or lateral. The OSL can also be suggested off scene, such as a campfire burning near the miniature without actually being modelled on the base. Painting these effects will have two important repercussions. ‘The first one is to create anew set of lightand shadow, defined according to the closeness and to the intensity of the light source. The second is to modify the colour tints of elements affected by this lighting source if itis coloured, 7 LATERAL LIGHT - Reaper Miniature - Sculpted by Jérémie Bonamant Teboul - 54mm MULTIPLE LIGHT SOURCES Qui Lee Qin -Figone- 82 mm.AND SHADOW: theory and practice EXPLORING THE POWER OF ZENITHAL LIGHT Successful lighting is about placing lighter and da shape and texture of the surfaces to be represented, as well as the location of the light source illu g them. Much of what follows is a theoretical examination of a complex subject and it will, by its very natu be incomplete. However, you should be able to learn enough from this book to start applying these concepts ker colours in the right places, which depends during your own paintin The theory of zenithal lighting As expli of zen ned above, the technique thal lighting is to paint your miniature as if it is lit from a light source shining from above. The concept of zenithal lighting is easier to visualise and understand when illustrated with images and photos. However, even when well understood the application can be elusive and a good dose of perseverance is always helpful in achieving satisfactory results. Here, we explain the basic principles to make it easy for beginners to apply zenithal light before going on to the more detailed explanations. The best way to use zenithal light while ma g its influence on the volumes of your miniature is to first imagine a light source as a single light bulb ata fixed point situated above the miniature. Secondly, remember that light always travels in a straight line. According to the shape and to the orientation of the volumes with regard to the fixed light source, the shadows are thrown under reliefs and the areas the most exposed to the light are much brighter. TOAD AURLOGK - Kraken Edition -32 iimFor example, if we take a naked, static miniature standing under a lamppost, the top of the body, which is exposed the most to the light, is brighter than the While painting, the most marked highlights will be on the shoulders and the top of the body. The colour we paint will become darker and darker as we descend towards the figure's feet. The phenomenon becomes more complex if the subject is dressed, because it is then necessary to take into account the folds in the clothes and their own exposure to the light (with every fold generating its own shadows). Be aware that this explanation is purely theoretical and incomplete. It does not take into account projected shadows, the artistic choices of the painter, the peculiarity of certain materials, or other specific cases which we shall come to later. What will be described are the basic rules and parameters; similar to the computations used to simulate 3D graphics. These simple examples correspond to ideal, smooth, opaque, matte shapes that are seldom seen in nature. AURLOCKS - Kraken Edition - 32am. 19‘AND SHADOW: theory and practice GEOMETRIC PRIMITIVES UNDER ZENITHAL LIGHTING The term geometric primitive is taken from 3D computer graphics and refers to the simplest geometric objects em can draw. Examining how these simple forms appear under different lighting conditions is a great way to learn the principles of light and shadow. A simple shape with flat surfaces A golden rule: The highest, flat surfaces receive the most light because they are completely perpendicular to the axis of incoming light rays. Being flat, the surface will have the same colour throughout with no gradient because the light rays will strike the surface at the same angle across the whole surface. The object's true base colour (not highlighted, nor shaded) occurs on the sides (and the front, and the back surfaces, like the side plane of this page), these zones receive neither shadow nor highlights. Shadows occur where areas are not illuminated by rays of light, i.e. on the underside of the shape. The darkest shadows are on the lowest, least exposed face of the flat surface. All the surfaces which have the same angle or slope are of the same brightness. A simple shape with curved surface: When the light source is situated over a sphere or over a curved object, the most brightly lit point is situated at the top of the ball, where the subject is perpendicular to the light source. Another golden rule: There are no flat surfaces on a sphere thus there are no large uniform areas. Since the sp! it is subject to a light and colour gradient. Shadows form on the parts where rays of light cannot reach, i.e. below «the equator» of the sphere. The darkest shadows are at the very bottom. All of the points on the surface which form the same angle with the incoming rays of light receive the is curved, same quantity of light. Therefore, all the points forming a horizontal ring around the sphere are of the same colour. Look at the green shapes in the examples and note the particular way the recesses catch the light.This skull is a good example of the theory at work. Compare the lighting on the forehead with the brow ; appreciate how the light is stronger as the convex surface faces the light source. above the eye sacke Here are some more examples showing the relationship between light and flat or curved surfaces. In this example the highlighis have been left deliberately exaggerated as large brushstrokes to allow you to identify the most intense light spots. ROCCO - Figone -54mma T AND SHADOW: theory and practice A GOLDEN RULE ‘The golden rule for accurate zenithal lighting is to remember that at every point on a curve, the more the angle is perpendicalar to the where the ray of light strikes, the brighter the point will be. “This rule has different consequences when applied to different shapes. On flat surfaces, the surface is at the ‘same angle as the direction of the rays of light so a flat surface will have a uniform brightness at all points. ‘On a curved surface, the angle where with the rays of light strike varies with the curvature. A curved surface therefore requires a gradient of light and dark: the greater the angle of a surface, the more the gradient between two nearby points will change. Consequently, the greater the curvature of your shape, the sharper the colour gradient must be (ie. two colours blended into each other over a short distance) and the greater the contrast. Here is a striking example on the abdominal muscles of this Minotaur. The muscles are represented as spheres and we can see the concentric rings which «round off» the appear as cubes composed of flat surfaces. ape of each muscle so they don’t MINOTAURE -Figone- 54 mmLIGHT AND SHADOW: theory and | The degree of curvature and the colour gradient It is important to remember that the sharpness of the colour gradient (how quickly the colours blend) is proportional to the curvature of the part you are painting. If the element has a gentle curve, the gradient will also be gentle. If the surface includes a sharp angle, the gradient will also be sharper. In all cases, the gradient will match the shape of the curve. oy © (On these pictures of clothing, we can see thal {ihe shadows gather more quickly as the cloth «sinks» into thesides, ; Zi | follow these two curves. LAQUEEN OF DEATH - Figone- 32 mam The two different ways in which the stomach has been painted in these examples may appear equally appealingly. However, the right-hand version is “better” in terms of lighting. The left-hand version is too blue and too dark, accentuating the stomach in a way in which the sculptor did not intend. Attention, as well as changing the value (light/dark) the temperature is also changed (warm/cold) since the lighter shade is warmer than the dark one but that is not the subject of this discussion. Painting angles, edges and flat surfaces ore any noticeable shapes on the object and try to bring them to The message here is simple: don’ life with a touch of brightness. Applying a simple lighting style is the easiest way to suggest three-dimensionality on an otherwise flat silhouette. A simple line of bright paint around the outline of a raised area will bring out its shape; the volumes are given form and will stand out more, better defining the object in space.LIGHT AND SHADOW To effectively and efficiently create three-cimensionality, logical and explicit painting choices, verging on minimalism. This applies even more so to intricate shapes.In the figure, the bottle of ink, the ball and the pen are all viewed from different angles but there is nothing, shocking about this image. Why is that? Well, it’s because the highlighted edge is positioned in such a way that it provides visual cues about the depth and volume of the object, also, because the silhouette of each suggests the presence of a solid, flat surface, ie. the table on which they are resting, For each object we chose the best view point - the best angle - to identify the direction which suggests that the sheet of white paper is not just a bright field with black spots on it, but it is a three-dimensional space with objects on it. The points of brightness on the spheres are a powerful visual signal which gives us the illusion of three dimensions. It's the same for the edges of your miniature , so you must define them very carefully. | Se SRRRTIRURNENR NMAC As on this jigsaw-puzzle piece, the } (x) ‘ Qo ‘ light first strikes the corners and then it flows down the edges, losing some | i , of its intensity along the way. The | direction of the light is defined by the chosen lighting style (zenithal, | directional etc.) and the way in which | it affects the miniature must be understood in order to represent the |) model's shape as clearly as possible. || 27 Here, the theory is applied to painting a flat surface. You can \ see that a flat surface painted in a uniform colour is less interesting to look at than when a slight gradient is added to make part of it brighter and stand out. This bright zone is placed as close as possible to the chosen light source. CARLOS - Figone-32 mm'AND SHADOW: theory and practice Embrace the whole model with your eyes; see it all at once for what it is: a large set of different shapes. French neoclassical painter Jean-Auguste-Dominique Ingres was right when he recommended that his students : «draw the model from far away; be transformed into a giant who dominates everything and sees everything». When you half close your eyes, your image of the miniature becomes blurred and the shapes simplify themselves, this allows you to better perceive the overall characteristics of light and colour on the object. The goal is to help you to see how to build up the areas of highlights and shadowss as discrete masses.LIGHT AND SHADOW: theory and This is an important point to understand, the first step is: simplify the interaction of light and shadow into a question of seeing surfaces; the surfaces that make up the largest possible shadows, the largest possible highlighted surfaces, as if the miniature was composed of two, or at most three, tones: black, white, and gray.T AND SHADOW: theory and practice These masses determine the overall composition of the work. They are the blocks of shadows and highlights viewed without details, without taking into account shading or blending, for instar this approach into practice we need to develop the framework of “constructing mas: FURGOL = Figone-32mm In this approach, the word “mass” refers to the highest areas of light and shadow which can be seen on the miniature. “Constructing mass” means identifying the volumes by simplifying the interaction of light and shadow on the miniature to their most basic forms. It is important to simplify - mentally at first - the volumes of a miniature into basic geometric forms and to visualise the impact of the light on these forms, We do not usually look at things in this way in everyday life, but it will be worth the effort to develop this ability to improve your painting. ae o NABILA - Cin8Créatif-54 mmLIGHT AND SHADOW: theory and pri T've revised these paragraphs several times, trying to explain the state of mind I am in when I cree my miniatures and T realise that these are very subjective, psychological reactions that cannot be full described in objective language. But lam sure of one thing; everything that makes an artistis summarised | in the title of this section: an organic vision of light and shadow. | Forget about the small details for the moment and consider the volumes as large, geometric surfaces, Reduce the shape of the head to that of a sphere; envision the arms as tubes, weapons as rectangles and triangles and so on. Analysing a few common examples +7 “7 Next, identify what we can refer to as zones or areas of light. These are large, bright or dark zones arranged according to the shape of the largest volumes and the largest curves of the miniature (the sphere of the head, the curve of the bust, the orientation of the arms and legs). Unlessaminiaturehasaparticularly exotic pose, the brighter surfaces are situated on the forehead, the top of the head, the shoulders, the tops of the arms (depending on how they are positioned), the thighs (if these are exposed to the light), or on the forward leg if the other is set back for balance. ‘The dark surfaces are generally situated under the arms, the chin, the jaw, underneath dresses or other clothing, the c the thigh if the leg is slightly raised in front of the torso (if the foot is placed on a stone for example), on the back of the legs under the bust. Areas of intermediate brightness are frequently found on the widest parts, with vertical tangents to the light: the stomach (if it’s not too bloated), the sides of the torso and the legs, ete: atch, underAND SHADOW: theory and praLIGHT AND SHADOW: theory and pr Zenithal lighting on cloth and small surfaces There are many factors which influence the shape of a fabric; the material it's made from, its movement, its weight, the shape of the object beneath the fabric or the elements touching it. A variety of folds will form depending on how and in what direction the fabric is pulled. This makes for one of the most interesting aspects of the hobby for painters who like to play with highlights and they are rather simple to achieve once you have understood the following concepts. ~ AVALONNIAN - Kraken Edition -32mm ‘Appreciate the tight, the angular, and the slack folds in these examples. Pay special attention to how the light conforms to the shapes to accurately convey the material, the tension, the slackness, etc...a OPES il ns EEE! Oa AGHT AND SHADOW: theory and practice ae re ema Sharp transitions on horizontal folds A fold in a garment can be simplified into three zones: a flat zone above, a jagged zone at the fold itself, and a flat zone below. The previous explanation of zenithal light showed how the light settles above the fold, that the colour gradient takes place at an angl that the shadow is located on the opp. downward-facing this section illustr.LIGHT AND SHADOW: theory and pi If the fold in a garment changes angle sharply it is essential that the transition from shadow to light is also sharply delineated.by a brighter hi shouoi ~ a 3s e a By Sf s = ° a < ne wD a Z < = oF e CRIMEAN WAR 5!NATHALIEL - Figone=32 mm. Take for example the folds in this wide skirt which start almost vertically and as they fall, they ben¢ outwards to capture more light, Zenithal light is “caught” or most intense where the surface is most perpendicular to the rays of light.LIGHT AND SHADOW: theory and pi 5 into the shadows on one side of Rot ht on the other. SOLDIER FROM THE CRIMEAN WAR -Latorre Models -54mm_ ly in the first photo how the «natural» light (Ie at the ke of the photo) of the folds of the sack. The gradient should enhar uate this"= LIGHT SHADOW theory and practice Light ‘ Here is a different example which underlines three fundamental points: - The light settles on the facet «above» the folds. - The highlights are as bright as the zone facing the light. - The width of highlights vary according to the thickness of the sculpted relief. THE CHANCELLOR OF THE EXCHEQUER - Figone - 54 mmLIGHT AND SHADOW: theory and p. Progressive transition of vertical folds skirts in these examples. point. GALADRIEL - Games Workshop = 32 mm "1 This lighting style is close to general lighting which consists of darkening the recesses and brightening the raised parts of the model without taking into account any specific direction of the light source. So we just have to shade the creases and highlight the bits that stick out. Obviously, the light “hits” where the fabric sticks up, as can be seen at the bottom of the Appreciate the subtlety on this red cape, where the big fold to the left is not completely vertical, we see that the light settles delicately on the edge of the fold, on the side facing the zenithalSmall volumes react to ligh es, but since they are smaller, there is less space in which to paint the gradient. I therefore paint them with just small touches of colour. I generally begin with dark tones and I brighten up with touches of brighter and brighter paint to add most of the bri the most light would strike ROCGO - Figone VERUS - Figone - 54 mm How does a secondary source affect brightness? ‘The positioning of the highlights and shadows due toasecondary lightsource is treated thesame way as zenithal light, except that the secondary light source should be viewed more as a spotlight directed at a specific part of the miniature than as an overhead ambient illumination. A surface will receive more or less light from the secondary source according | to its orientation and its position regarding source. Specifics for reproducing these effects in the’ context “of zenithal lighting are discussed in the next section, but the principles can be applied fo all kinds of light source: HELMUTT - Figone -32mmLIGHTING EFFECTS: COMPOSITION AND NARRATIVE The role of bright tones and shadows You should never forget that the representation of light also contains the representation of shadow. It might seem obvious to say so, but sometimes the obvious can be overlooked. A spot of bright light only appears to be bright when contrasted by a spot of shadow. Unfortunately, light is fickle and things are not as simple as that. Most of us have some difficulty seeing the tonal values in colours. The study of black and white photography can be helpful to show us the distribution of the light and shadow on familiar objects. We can say that the bright parts of a miniature emerge when they are surrounded by dark zones (while the opposite is less true). As far as possible, paint your brightest, most important element so that it can be seen as clearly as possible by the viewer, like a lighthouse at night, or a candle in a cave. Learn how to catch the eye with the interplay of exaggerated contrast; certain parts can be made to emerge more gradually, while others can remain in the shadows Mastering composition with light Compare the two Minotaurs to understand what to do and what not to do. Stark contrasts are a great way to emphasize different elements of a miniature. MINOTAURE -Figone-54mm.There are various ways to create strong contrasts. Sometimes choosing a pair of complementary colours can produce the effect we're after; sometimes a monochromatic approach or a monochromatic feeling is the key. Another way to achieve this effect is to use a contrast of light and dark colours. the overall combination striking, As you will see, of colours produces a effect Given the small size of our chosen medium, it is advisable to exaggerate the contrast, almost forcing it, to maintain a paintjob that is easily understood at that scale. Light is born from shadows so I tend to create contrast on my miniatures to enhance their drama and clai JADE SPEAR WOMEN- Kraken Edition - 32 mmSSE SEP ee ERS, NS SC a at SE LIGHT AND SHADOW: theory and practice Creating drama by exaggerating contrast Strong lighting which increases contrasts (the effect of a sunset for example) can create a more dramatic subject. It can also help to focus the viewer on a specific part of the figurine, It is highly recommended not to aggressively brighten all the prominent parts of a figurine, at the risk of seeing it transformed into a Christmas tree g with bright, colo | lights. MINOTAUR hung with bright, colourful lights. LIGHT TONES ‘A very bright painting which contains a lot of white can be said to be done in a “light tone” . Using colours like this produces a creation which is bright and airy; and the changes in value are very subtle. When you use this kind of pallet, carefully plan your colour mixtures and be careful not to add too much grey! The idea is to use just enough grey to control the colour. Too much grey will de-saturate the colours and dull the painting. DARK TONES Using dark colours and adding black to the theme creates an atmosphere that we refer as a “dark tone”, The dark values of blues and black help emphasize the bright zones but black must be used carefully or the overall painting may be too gloomy. Always try to keep your colour mixtures vibrant. Ina universe where shadows dominate, there is a feeling of melancholy, subterfuge, detachment. Shapes seem flattened, featureless, dark, and timeless,AND SHADOW: theory and practice Focal points: How to get the attention you deserve ? We often see miniatures which are painted to a very high technical level but which nevertheless do little to attract the viewer's attention. In spite of perfectly mastered blending and a well chosen colour scheme, these ures can seem flat and monotonous because something is missing; something extra is needed to grab our attention and give the subject its «soul: the focal point. WHAT DO WE MEAN BY FOCUS? Every well-sculpted miniature ontains one or more element which dominantes the overall eel of the miniature. Often it's the face, a particular expression, an original pose, For perhaps a fascinating | object it holds in its hand. The | concept of a focal point, as the | name implies, is to draw the attention of the viewer to a specific point so that they are “focused” on the precise area which the painter wants to ‘emphasize. The focal point is often used J by advertising executives to ‘direct the consumer to their ore message. This is perfectly illustrated in the case of the promotional poster: while features they want to light (the price of the product, its name, its brand) fare often written in large print, with warm colours to draw the attention, the other | information (particular terms ‘of sale, limited’ stocks) are written in small simple text CARLOS - Figone -32 mm It is more or less the same principle when you paint your miniatures: you have to ask yourself how to play with the colours - characteristics of brightness, tint, and saturation - to best emphasize your subject. Whatever your level of painting, the concept of the focal point is very useful. For a novice painter (or a more advanced painter looking to paint quickly) one part of the miniature (usually the face) painted with a bit more effort can draw favourable attention and leave the other parts in the background so they can be painted more quickly and with less attention to detail For the experienced painter, mastering focal points strengthens the atmosphere of the miniature, improves the narrative, and directs attention to the details he wants to highlight.The limits of the shadows on a miniature or on a drawing can often provide an excellent picture frame for the composition. On models where the contrast between light and shadow is very stark, these limits transform into basic elements of an outline and can add to the readability of the figurine. Using dark colours, you can establish the silhouettes of the masses of the objects in two dimensions - height and width - but they will seem flat if we stop there. When you add the brighter areas and highlights, you create texture and depth while adding shape; giving the illusion of three dimensions. When defining the silhouette, placing the highlights clearly and sensibly are the keys to success, The outline created by the shadows allows the volume to be seen more clearly and as we understand the model better we can visually build the figure the way we would like. -32mm How to choose the zones which deserve particular DERNIER PLAISIR -Figone -32mm.Before you start choosing your miniature, you need to s c elements are visually important you create the same effect everywhere, the eye cannot identify the significant p: the elements intended to enhance the details will not standout: moderation is nece To choose which zones to emphasize, you car put yourselves in the mind of a caricaturist: to express the subject's character they fy the portrayal to a few essential details 2 then exaggerate their shape or their size wher drawing them Most of the time your choice will include the face and the miniature’s eyes, but you car also choose to concentrate on a magic object gemstone, a shield, a weapon, etc It is tempting to want to highlight all of the small details, even if they are not really that important. Even if it might produce a goo. local effect, it's better to paint them in a more neutral way and avoid damaging the overall aspect of the miniature. If everything is painted to stand out, nothing will stand out. GAME OF LIFE - Métal Models Conversion by Jéremie Bonamant Teboul - 54 mm Hae SHADOW - Kraken Edition=@mmARLEQUIN -Games Workshop Conversion by Jérémie Bonamant Teboul - Highlights, the indispensable touch ‘This section is directly related to the section that dealt with painting angles and edges. We saw that the silhouette is the first thing that we perceive since it outlines a shape in space. The simplest way to give to a shape the third dimension is with a small area of highlight. In fact, every shape receives a maximum amount of light on its most convex part, which then diminishes little by little from the light source until it slides into twilight at the extremities. Although it is perhaps the smallest highlight you an paint the final highlight or light spot (sometimes called the centre light in design) is going to specify the projection of the shape towards the exterior, fo make it pop out of the plane ofthe silhouette and approach The observer, Added to the silhouette, which defines the outline of the shape, the highlight brings out the third dimension and gives the illusion that the raised parts of the miniature are standing out. ‘The final highlights on each element add an essential precision to the shape of objects, in a way which a silhouette or a simple blended gradient cannot. We are using the same tricks as the draftsman who plays with bright touches to define a concave or convex curve ‘on a silhouette. When the volume is illustrated in the simplest way -a minimal highlight on the spot of maximum curvature - there is nothing more lo say 49© LIGHT AND SHADOW: theory and practice DERNIER PLAISIR - Figone Look carefully at both versions of this miniature; one of them has been deprived of these essential highlights. On the normal version, we can distinguish little spots of light on the face (cheekbones, nose, and upper lip), on the metallic elements, as well as on some of the joints of the hands. Each fold of the belt and each decoration on the arm show the tension of its position, and the point of the lance and the feathers of the helmet also receive their own highlights. These spots of light serve to emphasize certain shapes which are essential to the understanding of the overall character of the figure. FURGOL - Figone- 32mm.‘A light spot can create a focal point on the smaller elements of the model. £ your blendi of your paint you can enhan the miniature jumes but it is the final highlights that set it off. Light spots are often used in 2D illustration to give the illusion of 3D umes, In the same way that a very tight blended gradient in which we place a simple white point in the centre transforms a flat circle into a sphere, when applied to miniature, volumes can be highlighted with little bright spots ‘An edge highlighted with a very bright colour or an int diffuse highlight on aie RRR RR i MN Ea a ea “LIGHT AND SHADOW: theory and practice pci Hs ede Am TRICKS ‘There are several ways to obtain a spot of light. A simple gradient obtained by successive washings is well suited for large area, but less appropriate when we are dealing with micro-points of light. Other techniques also allow an interesting gradient to be achieved along with sufficient brightness to catch the eye. A simple method is to work with diluted paint and to use the natural distribution of the paint up the brush hairs. When we add a little paint to the point of a wet brush, the’ paint pigments are going to spread up the length of the hairs in a diffuse way via capillary action. This ‘means that the tip will be heavily loaded with pigments, whereas up the rest of its length, the hairs will be progressively less and less loaded with pigment. So, by painting with the edge of the brush, we deposit more concentrated paint (thus an opaque'and intense layer) at the tip and a more and more transparent quantity of pigments along the edge, creating a natural gradient of luminosity ROCCO -Figone - 54 minAlternating light and dark areas ample if this explanation is illustrated through these few diagrams and images of models. ious example is the design of popular sport footwear.AND SHADOW: theory and practice I decided that the main element of this miniature, namely the skin, would b light colour. T always try to have a dark t coloured element so I decided to paint the parts which fai is light, so the fabrics will be dark. We element next to a en the skin in dark colours. The skin could have made the opposite choice, as it is the case with the black-skinned Jaraya ina later example. To balance this miniature 1 wanted the pants to be light. I chose beige because i goes with everything, with brown st to harmonise with the skin. The outline of the mouth is bright to draw att the face, enhanced by the reddish nose To remain discreet the armbands are of a medium tint. KHALIMAN¢ Kraken Edition - 32 mm Ihad no preconceived idea about the painting of the details on this miniature. | think it’s better not to, just let things take their course and then tidy it up later. Small details should always be considered secondary to the main elements and they should be painted (or repainted) to conform to the overall theme as it develops. KHALIMAN/ Kraken Edition 32mm In this example, the skin tone is medium. We thus enhance the contrast using different tints (the cool blue of the belt contrasts with the warm brown of the skin).VERUS -Figone-54 mm So far, we've learnt how to look at certain details of a miniature and to observe how all the elements can be grouped into one composition by comparing their forms and their colours. We've Tearnt to see where light is coming from, how to locate the large zones of shadow, and note where the brightest points are. The next stage consists of establishing the order of the various intermediary tones from lightest to darkest. Indeed, to realistically render the volumes of a miniature, reproducing light gradients is not enough, it is also necessary to play with different tones i. to place the various elements of the composition along the light-dark continuum. In this section we will analyse several techniques which can be used to represent lighting effects. A properly blended colour gradient helps define an object’s shape by providing realistic shading, Using colours with different tonal values can add further realism by increasing the impression of depth. Each tone corresponds to a different level of exposure to the light source: zones with similar exposure will have similar tonal values and areas with different levels of exposure can de demarcated by using different tones: lighter or darker depending on their positionThe darkest colours, It is therefore With every _ intermediate shadow zone you obtain more and more defi volumes, up to the biggest light which eventually define the model's shape. zones of So you see that each step plays a role - too strong a shadow in one place or a ig highlight ir interferes with the viewer's mis other understanding of the whole. You need to know how to effectively evaluate and rade the shadows from lightest to darkest and’ the highlights from brightest to least bi ve to limit the extent of the overall shape of the miniature when applied correctly nntial to respect the outlines and use the strongest shadows only for these outlines. The intermediate zones establish the more or less strongly shaded zones, and help delineate the forms. MINow that I have globally shaded the largest volumes, I am going to refine the paintwork with darkened nuances to take into account the «secondary» volumes (abdominal muscles, ribs). This time I will use a slightly brighter colour, as well as applying the darkest shadow to the outline of the belt, the shadows of the fingers, the armpits, and the border between the hairline and the neck. I've also added some highlights in the places where the light falls on protruding elements. I began by bri- ghtening the shaded areas; that is to say, even within overall dark areas there are small volumes which deserve a brighter tint, for example, the ribs. I'm not going to paint them with an objectively bright colour, just with the base colour since it is relatively brighter than the colour I used to shade but still darker than the highlighted areas. Thanks to the varying degrees of brushwork, different zones of shadow will begin to take form on the fini- shed work providing the impression of volume. You will need to know how to subtly differentiate between different zones since they don’t all have the same intensity of light or the same depth of shade. The first shadows are added from a global perspective. For the moment Y'm ignoring the smaller elements (abdominal muscles, small muscles etc.) while I concentrate on defining the volumes of my miniature in their global form (masses). So, the lower abdomen is generally more darkened than the top of the trunk, the tops of arms are brighter than the bottom, the sides are darker than the front, the neck is generally darker than the face, and so on. MINOTAURE - Figone - 54mmT AND SHADOW: theory and practice THE HARMONY TRIANGLE THE FLUTE PIPER - Games Wor Conversion by Jéréntie Bohamant Tebou! 54 mm Creating various focal points allow’ us to simultaneously emphasize certain elements of the miniature and also to help the viewer's attention to flow from one point to the next, according to the direction which the eye naturally follows. This can make the composition more cohesive and add depth, "so [artificially create diagonal lines to guide the eye and suggest movement in the composition. In the same way, advertising executives organise the elements of their posters to highlight a logo, a ‘brand, or an important element of the product they wish to sel 58LIGHT AND SHADOW: theory an Knowing how to take a step back THE CHANCELLOR OF THE EXCHEQUER - Figone-54 mm ‘There are times when it’s necessary to take a step back and look at the miniature from a distance. An image has to be contrasted enough and effective so that it is understandable and readable from a metre away, then two. The closer we get to it, the more we enter the depicted universe and the more we start to discover new things; a background, an environment, and other interesting details. That is to say, at a distance we seize the heart of the image and the eye is attracted, interested to learn more, then the closer we get to it the more we understand it and begin to spot those elements that complement the main subject and enrich the narrative‘Computers are ideal for certain tasks, especially when we want modify the vision we have of our miniature. Submitit to the upside down test, as draftsmen frequently do. With an inverted photo, our eye hasa different, totally abstracted perception of it. Our eye does not linger any more over the story, it is not captivated any more by the sense of the model but by its colours, the various elements, the obvious elements and those more discreet ones, the balances and the imbalance, the movement etc. It’s a good way to verify if we have achieved what we wanted. Sometimes it happens that a diorama works better when it’s turned upside down tough luck if that ever happens to you! Lalways convert m photos to black and white towards the end of a project. It’s another way to immediately discern if a miniature is readable or not; contrasted enough and balanced, if the highlights are placed where we want them to be, if the character has a good depth, if the whites circulate well, if shadow zones are not too blocked in, if the eye is attracted to our subject, and so on. If the miniature can stand up to this test, I think that you can justifiably take a break And of course, don't forget to share your project within your social circle, Learn to sort out the instructive criticism from the bad. For my part, I never consider a project complete without showing it to my partner. There are surely many things [have forgotten to mention that could help build the best image possible but with what I've written above I think that we can say we know how to aim for the best and avoid the worst... 60ROCCO-Figone-54mm A full volume of Figopedia devoted to basing is planned for the near future. In the meantime we can start by briefly defining some of the main principles. icture frame, a Most of the time, the base serves asa ize the miniature. We hav support made to emph seen how a dark zone can be used to emphasize a brightly lit zone. Try to use all the tools developed in this book to free the character from the base and Why do you think that in the majority of the examples in this book the miniature stands out s VARATAR - Andrea Miniature - 54mm clearly and so starkly from the base? It is becaus: all the principles which we apply to a miniature should also be applied here: clearly define zones of lig) and shadow, be careful to focus the attention on particular points and make the light flow over the min the model is situated push the back and sides of the base into shadow so that the central space wher Notice that very often the strong concentration of dark areas on the edges draws the attention to the cen! Observe the edges of the base and ask yourself if the character is going away from you - like it was appearing into the page of this book - or if it is coming out towards you.T AND SHADOW: theory and practice INNOVATING WITH LIGHT SOURCES Mixing zenithal and general lighting Light is not just present in areas lit by the sun; the shadows also contain a quantity of cold colours, with spots of reflected light which are reflected by neighbouring objects. By extension, the ground and the environment also reflect the light in all directions. So the lighting is never as intense as if there was only hen treating shades and highlights, which is not as straightforward as the theoretical expl tht suggest. Therefore, unless the atmosphere or the painter’s choice imposes otherwise, the majority of miniature painting projects are a mix of zenithal and general lighting, one unique source. A bit of artistic freedom is in order ation given here How to paint projected shadows ? Painting the actual shadows cast by the miniature on the ground or on other surfaces can sometimes be a delicate exercise. The viewer can turn the miniature in his hands and look at it from any direction so fixed s shadows cast in a particular direction are generally a “faux pas We can strengthen the shadows by outlining large elements (a large bag, an arm around directly in contact with deta the body, the shadow around the feet). Shadows arg only created on the miniature when they are very close to the body, and very rarely if they are not in contact with the body (e.g. the shadow of a spear or a outstretch hand held in front of the body). ‘On this model, the lighting isn’t strictly zenithal. We can see that the front is “laterally” lit to ‘underline the hair, that the point of the blade is lit towards the bottom to make‘it stand out from the base and make the splashes pop out, and, other example among many others, that elements of the same are also lit “individually” to them clearer.